The dramas of Eugene O'Neill--often called America's first "serious" playwright--exhibit an imagining of the natural world that enlivens the plays and marks the boundaries of the characters' fates. O'Neill's figures move within purposefully animated natural environments--ocean, dense forest, desert plains, the rocky soil of New England. This new approach to O'Neill's dramas explores these ecological settings as crucial to his characters' ability to carry out their conscious and unconscious desires. O'Neill's career is covered, from his youthful one-acts, to the middle years experimental dramas, to the mature tragedies of his late period. Special attention is paid to the connection of ecology and theological quest, and to O'Neill's persistent evocation of an exotic, natural "other." Combining an ecocritical approach with an examination of Classical and philosophical influences on the playwright's creative process, the author reveals a new, less hermetic O'Neill.

"Off and on, of late years, I have studied the history and development of all religions with immense interest as being for me, at least, the most illuminating 'case histories' of the inner life of man."--Eugene O'Neill writing to M. C. Sparrow, 1929 While it is commonly accepted that Eu­gene O'Neill studied Oriental mystical religions and that this study may be detected in some of his less successful experimental plays (Lazarus Laughed, The Fountain, Marco Millions) there has not been an effort to con­sider systematically his "immense interest" and the influence it had on O'Neill's thought and writing. Robinson explores the tension between Occidental and Oriental elements in the playwright's art, examining both the sources of the conflict and its manifestation in selected plays written between 1916and 1942. Through an examination of O'Neill's cor­respondence, research library, and manuscript materials (some of which have pre­viously been unavailable for study) Robinson is able to reveal the origins of O'Neill's Ori­entalism. An easy familiarity with the com­plex interrelationships of Eastern and West­ern religions and the Oriental thought that underlies the ideas of many Western philoso­phers, allows Robinson to address the in­tricate problem of Oriental influences on O'Neill's favorite Western sources, including Nietzsche, Schopenhauer, Jung, Strindberg, and Emerson. Finally in a play-by-play exegesis, Robin­son traces the course of O'Neill's mysticism from its apparent repudiation in the deeply flawed Dynamo to its synthesis in The Iceman Cometh, Long Day's Journey Into Night, and Hughie, where Eastern ideas of maya, dy­namic polarity, and the emptiness of the uni­verse are again evident.

In the face of seemingly relentless American optimism, Eugene O'Neill's plays reveal an America many would like to ignore, a place of seething resentments, aching desires, and family tragedy, where failure and disappointment are the norm and the American dream a chimera. Though derided by critics during his lifetime, his works resonated with aud...

Earth Matters on Stage: Ecology and Environment in American Theater tells the story of how American theater has shaped popular understandings of the environment throughout the twentieth century as it argues for theater’s potential power in the age of climate change. Using cultural and environmental history, seven chapters interrogate key moments in American theater and American environmentalism over the course of the twentieth century in the United States. It focuses, in particular, on how drama has represented environmental injustice and how inequality has become part of the American environmental landscape. As the first book-length ecocritical study of American theater, Earth Matters examines both familiar dramas and lesser-known grassroots plays in an effort to show that theater can be a powerful force for social change from frontier drama of the late nineteenth century to the eco-theater movement. This book argues that theater has always and already been part of the history of environmental ideas and action in the United States. Earth Matters also maps the rise of an ecocritical thought and eco-theater practice – what the author calls ecodramaturgy – showing how theater has informed environmental perceptions and policies. Through key plays and productions, it identifies strategies for artists who want their work to contribute to cultural transformation in the face of climate change.